Add as many multiples of the window as you need, arranging them to suit the facade of the building that you are drawing. Next, create a new document, go to File > Place Linked. First, draw one window and save the file, calling it 'Single Window'. Here's my method for depicting repeating elements. This usually provides enough guidance that more detailed lines can be drawn by eye, even if they don't fall exactly on a gridline.ĭrawing digitally also allows for some other timesaving shortcuts, particularly when drawing repeating elements in perspective, such as a building that has many windows of the same size and shape. In this case I tend to add a basic square grid for guidance, which I adjust to the main perspective lines using the program's Skew tool (Edit > Free Transform > Skew). When drawing digitally in Photoshop, I find that it's usually too cumbersome to expand the canvas to draw all the perspective lines receding to a vanishing point to the far left or right outside the scene. This was an enjoyably tricky problem that I grappled with for many years, before finally coming up with a solution that involved fixing three rulers together, which moved around two drawing pins. What's needed is a ruler that will reliably pivot about a point to which it's not actually connected. It's not always possible to have a ruler long enough or table wide enough to allow your ruler to be physically connected to the vanishing point. The image above shows two-point perspective with a low horizon line and vanishing point far right out of the frame to enhance the feeling of distance and scale. This can be set up with as many rulers and vanishing points as is required, but typically I only use one or two at once. This enables me to quickly move the ruler around the page, and know that any line that I draw against the draughting edge will recede to that vanishing point. The simplest ones are cut from mount board and pivot on a drawing pin that acts as the vanishing point. I have various sets of rulers of my own making that I use when carrying out traditional paper and pencil perspective drawing. It seemed to fit with the tone of the book, in which the main character is often confused and disoriented by surroundings that either loom above her or stretch away in inhumanly vast vistas. In my graphic novel Square Eyes I would often set the horizon line either very low or very high in the drawing. If the horizon line is low, and the characters stretch high above the horizon, then it appears as if the viewer is lying down on the same surface, or standing on a lower platform looking up. If we imagine that our viewer is standing on the same surface as the other characters in the scene, then all standing figures in the scene will also have their head on the horizon line, with the exception of particularly tall or short characters. When you place the horizon line above the characters, it gives the viewer the impression that they're in a position higher up, looking down from a platform, say. It's useful to remember that the horizon is on the same level as the imagined eye of the viewer. The most important decision is the placement of the horizon line in relation to the important characters and elements such as objects, furniture or buildings in the scene.
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